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Home , Baroque architecture, Moorish architecture, Sebka

The Royal Alcazar of Samia Nakouzi American University of Beirut

Landscape History I Prof. Nayla Al‐Akl December 14 2018

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Table of Contents Introduction ...... 4 12th century ...... 4 Palacio el Yeso ...... 4 Palacio del Crucero ...... 5 Palacio de Contratacion ...... 5 Mercury Pond ...... 7 13th century: ...... 7 Salon de los Tapices ...... 7 Palacio Gotico ...... 7 Baños de Maria de Padilla ...... 7 Salon del Techo de Carlos V ...... 7 14th century: ...... 8 Palacio del Rey don Pedro ...... 8 Patio de las Doncellas ...... 9 Salon de los Embajadores ...... 9 Patio de las Muñecas ...... 10 Sala de la Justicia ...... 10 Between 15th and 18th centuries: ...... 11 Patio de Levies ...... Error! Bookmark not defined. Patio del Asistente ...... Error! Bookmark not defined. Jardin del Principe ...... Error! Bookmark not defined. Jardin de las Flores ...... Error! Bookmark not defined. After 18th century: ...... 12 Jardin Ingles ...... Error! Bookmark not defined. Jardin del Laberinto ...... 13

Conclusion: ...... 13

2 References: ...... 14

Appendix: ...... 16 Figure 1 …………………………………………………………………………………………………………………………..16 Figure 2 ...... 17 Figure 3 ...... 18 Figure 4 ...... 19 Figure 5 ...... 20 Figure 6 …………………………………………………………………………………………………………………………..21 Figure 7 …………………………………………………………………………………………………………………………..22 Figure 8 …………………………………………………………………………………………………………………………..23 Figure 9 …………………………………………………………………………………………………………………………..24

3 Introduction The Alcazar of Seville meaning al‐qasr in is a royal palace in the heart of Seville, . This palace has been revamped and redecorated many times throughout the centuries from the 11th century till the 20th century depending on who was controlling the empire at that time. The various and in this royal palace each date to a different era thus, each has its specific architectural style and culture. Moreover, the palace was declared a World Heritage Site by UNESCO in 1987. Throughout this case analysis, I will be describing the architecture design of the major palaces and gardens in this site that were built during various historical eras starting by the during the 12th century, moving to the during the 13th century, later the Mudejar architecture during the 14th century, afterwards the Renaissance and between the 15th and 17th centuries and finally the other architecture styles after the 18th century.

12th century In the 12th century the Moorish gained control of Al‐Andalus and made Seville the city due to its strategic location next to the sea and economic power. The first palace built on the site of the modern Alcazar in the 12th century by the Almohad rulers, a Moorish dynasty, was Al‐Muwarak Palace also called Almohad Palace which was a fortress‐like palace that had high enclosed walls. Originally in the 10th century, the Alcazar was a fortress for the Cordoban governor of Seville. (Arnold, 2017)

Located next to these enclosed walls was the Palacio el Yeso, a small courtyard that has a rectangular dimension with a long reflective pool bridged in the center that emphasizes axiality. In addition, on the northern side that is shown in Figure 1, there is a where its entrance is divided into two bays with horseshoe‐shaped that are divided by a single , also above each there is a small horseshoe‐ shaped whose function is to let light enter the room inside, this twin opening and the horseshoe‐aches were some of the characteristics of the Moorish architecture. The façade of this portico is divided into three segments; the middle segment is the widest and largest in order to emphasize the main

4 entrance behind it and has a high pointed whereas, the two segments on both sides are each formed of two that divide the arcade into three bays with three smaller pointed arches. This means that we have seven polylobulated arches (Almagro, 2007), also the characteristics of the Moorish architectures, and they are arranged in the following pattern of 3‐1‐3 which was widely present in palaces featuring the . Consequently, the presence of this pattern in the arrangement of the arches as well the presence of the twin opening is meant to highlight the notion of symmetry and the presence central wide arch is meant to emphasize the notion of centrality. (Arnold, 2017) Moreover, the decoration above the central arch is based on open interlaced curves whereas the decoration above the two lateral arches is based on openwork which are both of characteristics of Almohad art. (Almagro, 2007)

Another site in Alcazar that also features Moorish origins is the Palacio del Crucero. At the center of this palaces lays a huge courtyard with a of 68 meters long and 45 meters wide; this palace was the biggest palace in Alcazar. This palace is a two‐story ; in that period in the lower level, the courtyard had a garden and a long rectangular water basin in the middle and in the upper level, the courtyard was raised by two walkways that formed a bridge and crossed the garden. The upper‐story is at the same level of Palacio el Yeso and it had and two halls on the opposite sides, the northern hall and southern hall. (Arnold, 2017) This garden fully illustrates the concept of sunk gardens and having two heights was a characteristic of the Moorish architecture where “The great difference in level between the halls and the garden would have allowed people assembling in the halls to gaze across the tips of trees planted in the garden “(Arnold, 2017).

The third Almohad set of the Alcazar gardens is the Palacio de Contratacion. The courtyard is formed of four quadrants were we have sunken gardens and raised walkways (Arnold, 2017); it is believed that in those sunken gardens fruit trees were planted which represented fertility and health. Also here, the water is running in a cross‐shaped scheme and is intersecting in a central ; thus, this design of the four rivers of water called is

5 a clear representation of the notion of Paradise which was widely spread in Islamic gardens and the element of water symbolizes here sustainability. In addition, this palace is formed of two halls and porticos facing each other and are both designed equally and symmetrically. Here the porticos follow the same design as the northern portico in Palacio el Yeso; the entrance is formed of an arcade of three bays and the façade is divided into five segments, the middle one has the widest horseshoe‐shaped arch and the four other arcades are divided into two bays each. Thus, the pattern that the arcades follows is 2‐2‐ 1‐2‐2. This symmetry in the design emphasizes the organization and structure of the whole palace around a central axis. This axiality was not seen in previous works during the 10th and 11th centuries rather it was a distinctive feature of the Moorish architecture.

Therefore, the presence of geometric symmetry as well as axis of symmetry were main features of the Moorish architecture; the organization of the space following a certain axis was meant to show the power of the ruler “to organize, to bring order to space and people”. (Arnold, 2017).

In fact, many characteristics of the Moorish architecture appeared before the Almohad period, for example the palace at Monteagudo, Spain that was built between 1147 and 1172 is also based on geometrical symmetry and central axiality. Also, the Almohad architecture was influence by the Abbasid architecture that was during the 8th and 10th centuries, where in the Abbasid period the concept of central axis was a prominent element in the arrangement of spaces. Likewise, the presence of a middle wide arch in porticos was present in both Abbasid and Almohad architectural styles “The introduction of such arches in the Western Mediterranean may be regarded as a gradual diffusion of this element from east to west” (Arnold, 2017) and this central axis was a sign of power in the Abbasid architecture so that’s probably why the Almohad may have incorporated this concept in their architecture in order to show power.

6 Furthermore, in order to provide water for the whole palaces and gardens the Almohads built aqueducts where water was pumped from Carmona till in reached a reservoir that is nowadays known as Mercury Pond. This shows a sign of wealth and power and the presence of a well‐engineered project where water was the main element. (Guisado & Rozalem, 2017)

13th century In the 13th century, the Christian king Fernando III captured Seville and forced the out of Al‐Andalus; his son Alfonso X made some changes to the Almohad architectural style that was present and introduced the Gothic architecture in his construction of the Palacio Gotico.

Alfonso X replaced the southern hall of the Palacio del Crucero with Salon de los Tapices. This large hall has a rectangular floor plan and is decorated with massive tapestries and high arches; in fact, pointed arches and ribbed vaults, that are illustrated in figure 2, were two of the main characteristics of the Gothic architecture and they were used in the design of Palacio Gotico. Also as depicted in Figure 3, the art of tapestries was common in gothic architecture and flourished in that era, they were a luxury so their presence in this hall was a sign of power and wealth. In addition, we notice that there is a vertical axiality as if pointing toward heaven and a closer connection with the gods.

Furthermore, Alfonso X made some changes in the lower‐story of the Palacio del Crucero, the water basin that was present in the Almohad period became covered by a platform supported by ribbed vaults and this corridor became known as Baños de Maria de Padilla which was probably built as a refreshing escape of the heat in Seville. Also, another platform was raised and divided the upper‐story into four quadrants of gardens and a paved patio in the middle. (Arnold, 2017)

In the upper story of the Palacio Gotico there is Salon del Techo de Carlos V which is overlooking the Mercury Pond, at the center of the pond there is a fountain with the statue of Mercury which represents the god of trade, it was added in the 16th century when Seville became a great economic hub.

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14th century In the 14th century, Seville’s Christian king Pedro I hired Muslim architects and artisans to build a inside the Alcazar; Palacio del Rey don Pedro, a masterpiece inspired by the aesthetics yet also featuring western elements of design such as the incorporation of slender that dates back to the Greek and Roman architecture and the incorporation of pointed arches that are part of the Gothic architecture style. Thus, Palacio del Rey don Pedro also knows as Palacio Mudejar, is an exquisite representation of the Mudejar architecture. In fact, “This use of Islamic motifs in non‐Muslim settings is called Mudejar, from the Arabic mudajjan, meaning "domesticated," as in a subject people” (Ruggles, 2004). The main question is why would a Christian ruler choose an Islamic Mudejar architecture style in a non‐Islamic setting? It turns out that internal feud was within the ruler’s family and so King Pedro needed an ally to support him, at this time the Nasrid ruler of Muhammed V was forced into exile and went to Alcazar Seville for refuge (Ruggles, 2004); the need for protection is what brought both rulers to be allies and later Pedro I helped Muhammed V regain his throne. Thus as an amicable gesture, the Nasrid ruler sent expert artisans from Granada to help King Pedro I built his empire and offer him design advice.

The façade of Palacio del Rey don Pedro is divided into two parts, in the lower part there’s a portal in the center and two polylobulated arches on both sides that are decorated by sebka architecture which is part of the Moorish Islamic architecture and are supported by two columns. In the upper part, the façade is divided into three segments; the middle segment is formed of three polylobulated arches thus three bays that are separated by four marble columns and the segments on both sides are each formed of two polylobulated arches thus two bays that are separated by one marble column (Almagro, 2007) therefore, they follow a 2‐3‐2 pattern. Above the arches lays a frieze, in it an inscription in Arabic associated with that says “And no victor but Allah”, is surrounded by another inscription written in Spanish associated with that says "the very high and very noble and very powerful conqueror Don Pedro”

8 (Garden Atlas). The presence of both inscriptions in the same place is a way of indicating that the Islamic and Christian religions coexist peacefully and are both welcomed.

At the heart of king Pedro’s palace lays Patio de las Doncellas, this courtyard with a rectangular floor plan has a longitudinal reflective pool at the center that is bordered by two sunken gardens containing orange trees. The elements of water and the vegetation evoke the paradise notion in the Islamic architecture as they represent the source of life also the notion of the scent is part of the Islamic experience of the garden. The courtyard is surrounded by porticos that have polylobed arches that are separated by two columns each, “in the beginning of the arches there is the hand of Fatima, a talisman in Islam, from which you can see sprout that extend through the arches to form, next to the columns, a simple forest of trees of life that corresponds with the orange trees that surround the central pool” (Garden Atlas), as a matter of fact the hand of Fatima is a protective symbol and deflects the evil eye away. Other decorative motifs are present in the arches and that are revealed in Figure 4 such as the shells which are symbols of fertility and life as well to other geometric shapes including lozenge shape. In addition, the walls surrounding the courtyard are decorated with Arabic epigraphy and colored shimmering and which are characteristics of the Islamic architecture. In each of the four sides the middle arch is the widest to highlight the entrance of the main hall behind it. (Almagro, 2007)

On the western side, there is the Salon de los Embajadores a public area that opens with the Arc of the Peacock. This arch contains one large horseshoe‐shaped arch that frames three other horseshoe‐shaped arches supported by marble columns; Figure 5 exhibits the wall above the three arches which is decorated and carved by peacocks and birds colored in gold and blue, for here comes the name of the arch (Almagro, 2007); the peacocks are a symbol of power and permanence in the Islamic culture. In the ceiling there is a formed of rounded vaults supported by that are decorated with ; in fact, the muqarnas are a form

9 of vaulting unique to the Islamic architecture. Also the dome is decorated with carved star shaped motifs which are a representation of the universe and of light in Islamic culture.

One side of Salon de los Embajadores leads to Patio de las Muñecas, it is one of the most private rooms in the palace. This hall is enclosed by polylobulated arches that are supported by columns of white, pink and black marble.

Moreover, there seems to be a great resemblance in the architecture style in parts of both in Granada and Alcazar Seville whereby the Alhambra Islamic architecture style influenced the Alcazar Christian architecture style. However, it is still unclear whether this is true or not because like Alcazar, Alhambra also underwent several reconstructions and redecorations by rulers other than Muhammed V thus the chronology is complicated. Yet in both Alcazar and Alhambra the notion of a central large and open courtyard surrounded by multiple roofed rooms is present for example in Patio de los Leones in Alhambra and Patio de las Doncellas this notion is present. Also both courtyards are similar in the architectural style, they are both surrounded by polylobulated arches supported by two columns each and decorated with sebka design. (Ruggles, 2004)

Another hall was added in the 14th century that also incorporates Islamic architecture in a Christian context, Sala de la Justicia located next to Palacio del Yeso that was built in the 12th century. Alfonso XI, king of Castile‐Leon and the father of King Pedro I, built this hall as his throne room. The walls are decorated by arches, a middle wide arch open to a central doorway and surrounded by one narrower arch on each side also, these walls provide a resting place by the presence of stone benches under each narrow arch that are not present in any other palace. Above the arches there is a frieze with Arabic inscription dictating the word “Happiness” (Garden Atlas) as if this place was about the human experience. In addition, in the center of the hall a small fountain is located from which a channel carries the water into the long pool of Patio del Yeso therefore creating an interface between the indoor and outdoor space and signaling the hall as an antechamber of the patio. The presence of this

10 moving water at this exact location emphasize centrality and the importance of the element of water as a source of life as well as the importance of the sound of moving water in the Islamic culture. However, unlike Pedro I Alfonso XI chose to adopted a visible Islamic architecture style in his throne room in order to demonstrate a sign of triumph and therefore constantly remind himself of his victory. In 1340, Alfonso XI won the Battle of Salado against the Islamic empire of Granada thus there was “the victory of a Christian coalition against an Islamic coalition: Seville versus Granada” (Ruggles, 2004) therefore, Alfonso XI adopted this architecture to remind himself that he could not only own Islamic territories but also Islamic architecture style.

Between 15th and 18th centuries During the Renaissance period, the Patio de Levies was built. This courtyard in formed of a central longitudinal pool surrounded by high bushes and of a fountain facing the pool where the water is carried by a channel until it reaches the pool. The other side, displayed in Figure 6, shows an arcade of four horseshoe‐shaped arches of equal size supported by one column each is located (Garden Atlas). The presence of the arcades of equal proportions highlights the style which was influenced by the Greek and Roman architecture. In addition, the centrality of the pool and the presence of the running water from the water both date back to the Moorish architecture style. Therefore, this courtyard combines two architectural style through the integration of the arches and the running water.

Another courtyard is located next to Patio de Levies that dates to the Baroque period in the : Patio del Asistente. However, Figure 7 depicts that unlike other patios this one is made almost entirely of wood and only the columns in the ground floor are made of marble. The architecture of the space suggests that it dates to the early Spanish Baroque period that was influenced by the . The Italian Baroque artistic style was characterized by having a complex layout built from luxurious material and decorated by opulent ornaments and by the use of arches and columns which were some of the characteristics of the Renaissance style; but this courtyard is

11 characterized by a very simple layout built from humble materials. This contrast between both artistic styles is nothing other than the result of economic difficulties in Spain; in the early 17th century at the time where the Italian Baroque style started spreading throughout , the Spanish empire started to decline, it has lost its power and the country was left with an economic decay. Therefore, the economic situation in Spain is was caused the patio to be lacking a lavish building design.

The Patio del Assitente leads to the Jardin del Principe which was done between the late 16th century and early 17th century. This garden is divided into four blocks of heterogeneous plantation of palm, cypress, orange and other fruit trees and with a fountain the middle that has a hexagonal perimeter; the plan and the structure of the garden as well as the presence of fruit trees resembles the Islamic gardens design but here the four rivers of water are not present. On the right side, the wall is decorated with a row columns and on the left side the garden is connected to the Mudejar Palace hence the presence of arcades.

Facing the Jardin del Principe is located Jardin de las Flores, this garden also portrays the general ambiance of the Islamic gardens: the four divisions of the land, orange blossom and running water due to presence of a fountain at the center; yet here as well the four rivers are not present.

After 18th century With time the design of gardens was influenced by new architecture style and depended on the taste of the new ruling monarchy. The marriage of Alfonso XIII with the English Queen Victoria Eugenia in the 20th century lead to design of the Jardin Ingles. Unlike the other gardens at the palace this garden is actually outward looking and includes a borrowed view from the exterior landscape. Also as seen in Figure 8, the garden included new types of tree such as elm trees, magnolia trees and cedar trees that were planted on the large plot of grass and not following certain symmetry in design which was previously used.

12 Jardin del Laberinto was also designed in the 20th century. This labyrinth is formed of cypress, myrtles and arborvitaes trees and it follows a topiary design. The maze was first recorded in the Greek architecture hence this garden is inspired by Renaissance models.

Conclusion Concluding, the Alcazar of Seville is a real masterpiece that is formed of multiple inward looking palaces and gardens portraying Moorish Islamic architecture, Gothic architecture, Mudejar architecture, Renaissance architecture, and English architecture. In almost all these palaces and gardens the element of water is present through a fountain, a pond or a pool and it is given a central position with regard to its surrounding; the Seville region has a very hot climate thus back then, the presence of water in the palaces and gardens was used to demonstrate a sign of power and control and was not just a mean for refreshment. In addition, the map of Alcazar in Figure 9 underlines that the palaces and gardens are extended on a huge scale and the surface of the gardens more than doubles the surface of the palaces. The palaces and gardens were not only meant to represent monumentality and finesse with their detailed artwork but they were also meant to give the perfect human experience.

13 References Arnold, F. (2017). Islamic palace architecture in the Western Mediterranean a history. New York, NY: Oxford University Press. Retrieved from http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780190624552.001.0001/acpro f‐9780190624552‐chapter‐4

Almagro, A. (2007). Los Reales Alcázares de Sevilla. Artigrama, 155‐185. Retrieved from http://www.alhambra‐ patronato.es/ria/bitstream/handle/10514/14077/Reales_alcazares.pdf?sequence=1

Patio de Crucero. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐ alcazar/spaces/patio‐de‐crucero/

Patio de la Contratación. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐ alcazar/spaces/patio‐de‐la‐contratacion/

Salón de embajadores. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐ alcazar/spaces/salon‐de‐embajadores/

Fachada del Palacio del Rey Don Pedro. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐alcazar/spaces/fachada‐del‐palacio‐del‐rey‐don‐ pedro/

Sala de la Justicia. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐ alcazar/spaces/sala‐de‐la‐justicia/

Jardín Inglés. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐ alcazar/spaces/jardin‐ingles/

14 Patio del Príncipe. (n.d.). Retrieved from https://alcazar.nomadgarden.org/garden/real‐ alcazar/spaces/patio‐del‐principe/

Guisado, A. A., & Rozalem, J. F. (n.d.). Towards the incorporation of a raised walkway at the Royal Alcázar of Seville: Status and execution of the works (Rep.). Retrieved from http://revista.arp.org.pt/pdf/2017044.pdf

Ruggles, D. F. (2004). The Alcazar of Seville and Mudejar Architecture. Gesta, 43(2), 87‐98. Retrieved from https://www.jstor.org/stable/pdf/25067097.pdf?refreqid=search:4419d9b94c4f22cbce368f6fe e2b21e0.

Beardsley, S. (n.d.). Seville: Real Alcázar sheds light on Christian, Muslim history of Spanish city. Retrieved from https://www.stripes.com/travel/seville‐real‐alcázar‐sheds‐light‐on‐christian‐ muslim‐history‐of‐spanish‐city‐1.281928

In the footsteps of the Moors: Seville. (2017, April 11). Retrieved from http://www.e‐ travelmag.com/spain/moors‐seville/

Uncover Travel. (2016, May 12). Reales Alcázares – Sevilla's Royal Fortress. Retrieved from http://uncover.travel/reales‐alcazares‐sevillas‐royal‐fortress/

Spanish Baroque Architecture: Characteristics & Examples. (n.d.). Retrieved from https://study.com/academy/lesson/spanish‐baroque‐architecture‐characteristics‐ examples.html

15 Appendix

Figure 1: Palacio del Yeso

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Figure 2: Palacio Gotico

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Figure 3: Salon de los Tapices

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Figure 4: Patio de las Doncellas

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Figure 5: Salon de los Embajadores

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Figure 6: Patio de Levies

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Figure 7: Patio del Asistente

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Figure 8: Jardin Ingles

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Figure 9: Map of Real Alcazar

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